Blog

  • 10 Nov

    The Zoo Story

    Have you heard the one about two Brits in Copenhagen pretending they’re in New York?

    Very excited to report that I have recently been asked to take the stage for a theatrical production of Edward Albee’s classic 1958 play The Zoo Story at Huset in the heart of Copenhagen. Already home to a thriving English-speaking theatre company House of International Theatre (HIT), I was thrilled to be asked by my fellow ICC performer Charlier Waller to form the remaining 50 per cent of the cast.

    If you don’t know about it (and to my shame I include myself in this), it’s a one-act, two-person play that has often been labelled Theatre of the Absurd, but I don’t feel it is. It deals with universal themes including failure to communicate, isolation, class, societal failure and male identity.

    While being quintessentially American at its heart, the ideas that Albee played with in his writing knows no country or nationality. This also explains why we chose to perform in our native British accents and not pretend to be American. As two ex pats living in a different country, we felt some affinity with the ideas of being out of time and place, strangers in a strange land, somewhat disconnected from the status quo. Again, all these themes run throughout every aspect of Albee’s writing.

    It’s only a three-night run and a short play but it has proved quite an intense experience, not least because both Charlie and I are on stage for the entire play. Even in a longer play it’s rare for an actor to have 100 per cent stage time so in accumulative terms, it’s quite an undertaking. I should also mention that this is the first time I’ve been on stage for scripted performance since I was at school. So there’s that.

    Anyway, I’ve really enjoyed treading the boards, I hope this won’t be my last. Time will tell…

     

     

    By admin News Performances
  • 18 Aug

    Sir Leslie Quint: revisiting an old friend

    A little over ten years ago, myself and writer/director Richard Sclater made a one-off show for Paramount Comedy Channel called Sir Leslie Quint: A Life in Film. Only this year, I finally got my hands on the episodes.

    The show was a tribute to our love for the bizarre, eccentric and sometimes deeply offensive British film directors such as Ken Russell, Michael Winner and John Boorman. All pushed the boundaries of cinema and all lived lives as large as the characters they put on screen.

    Named after my favourite character in one of my favourite films (I’ll leave you to work that out), Quint also represented those types of Englishmen who seem forever lost in time, forever out of touch and forever remaining positive in the face of monstrous adversity -usually of their own making.

    Our show also set out to lampoon the cultural trends of cinema and society through the decades of the 20th Century, as seen through the bemused eyes of one of its survivors.

    We wrote it by Richard interviewing me in character and improvised my responses to various questions about my life, work, films and controversies. This was then hammered out into a script.

    We had great fun filming this series, shot on location in London, such as Mayfair, Soho and Hampstead Heath. some of the shots we got in the Red light district we had to do on the sly, often met with disapproving glares from large men in doorways to sex clubs – who knew these gentlemen didn’t want their face captured on camera. But, thanks to bold and cunning moves by Jedd Thomas and Will Sinclair, we got more than we could have hoped.

    We wanted Quint to have lived and breathed key moments in history, much like Forrest Gump or Woody Allen’s Zelig, but on a much smaller budget. I’d also like to mention the superb work by Paramount’s in-house design team led by Chris Wainwright, who worked above and beyond to interweave Quint into documented archive imagery and also to create those absolutely brilliant movie posters, most of which I would happily hang on my wall.

    It’s the little details, I feel, that make this show come alive, encouraging pausing to study the frame for easter eggs and almost-hidden gags.

    Even after all this time, I feel that Quint still stands up. We were very proud of what we achieved with virtually no money, back before people could just shoot on a smart phone and edit on their laptop, and we’re still proud of it now. It’s dark, twisted and more than a little mischievous, but also warm, nostalgic and Quint himself is a strangely likeable monster.

    It’s perhaps ironic that watching this series again makes me nostalgic for a different time in TV land. We were given complete creative freedom on this little documentary. I suspect that would not be the case these days. Paramount actually went on to commission us to write a pilot episode for a full series. Sadly,  due to a change in management, this never saw the light of day. But I can assure you it’s a cracker.

    A year or so later, Paramount rebranded as Comedy Central, or ‘The Friends Channel’, with little interest in making original shows. So it goes. But I like to think that Leslie will one day return. You can’t keep someone like him down for long…

    You can watch the full series of Sir Leslie Quint: A Life in Film right here on YouTube.

     

     

  • 06 May

    New Column for The Copenhagen Post

    Hello world,

    Just a quick update. The Copenhagen Post, Denmark’s leading English-speaking newspaper has foolishly let me unload my brain in a new column.

    Read the first one here.

    I can’t take credit for the awesome pun on my name, and the child in the photo isn’t my son, but the rest is all me.

    Lastly, I’ve landed a new voice-over gig. I’ll reveal more very soon but without giving the game away, here’s a hint. LEGO.

    As you were.

     

     

     

    By admin Uncategorized
  • 21 Feb

    2017: new website and making it up as I go…

    Hello world,

    Been a while but here’s a quick update.

    I’ve got a shiny new website. This is Adrian 2.0, people. This just got real.

    Big thanks to Rhiannon at Hey Kiddo for doing an amazing job.

    I’ve been living in Copenhagen for just under a year and a half now and it’s marvellous. Last year I reawakened my love for performing live and am now a regular player at Improv Comedy Copenhagen. I’ve learned much about the world of improv, specifically American longform improv, the school of making it up as you go along, pioneered by the late Del Close, whose notable students included so many of my early comedy inspirations, including Bill Murray, Dan AykroydHarold Ramis and John Candy to name, well, four.

    There are shows on Mondays, Thursdays, Fridays and Saturdays and they are a blast. I take to the stage on Thursdays and Fridays, so if you’re in town, drop by – although it sells out regularly so I advise getting tickets beforehand. The link above tells you all you need to know about performances, tickets, times, classes and more.

    So that’s it for now. I’m going to try and better at updating this site. Yeah, I know. I said that last year. And the year before. Bear with me, I’m very tired.

    As you were,

    A

    By admin Uncategorized
  • 02 Mar

    Acting again: Cuckoo

    Hello world. I’m in the latest series of cuckoo and here’s the offending episode. Only at the end, but I think you’ll agree it’s the best scene you’ll see of anything ever.

    Cuckoo Season 3 Episode 3: Mum’s Group

     

    By admin Uncategorized
  • 11 Nov

    Writings

    Hello world.

    Been a long time and a lot has happened. Won’t go into it all here but I’ve been doing some writing that’s appeared in the world so I thought I’d mention these two articles.

    The first is on one of my favourite websites Den of Geek, about the most famous composer you’ve never heard of:

    http://www.denofgeek.com/tv/shuki-levy/37004/shuki-levy-the-soundtrack-to-a-generation

    The second is from The Guardian, a piece I wrote on my current life situation and the circumstances behind it:

    http://www.theguardian.com/money/2015/nov/11/priced-out-of-london-moved-to-denmark

     

     

    By admin Uncategorized
  • 31 Dec

    Wheelman – a brand new comedy webseries

    Forget what you know about getaway driving. Wheelman has arrived…

    For more info on this exclusive web series, visit the Madcutta Films website.

    By admin Uncategorized
  • 12 Aug

    Robin Williams RIP

    Hello world.

    Harold Ramis. Mel Smith. Rik Mayall. The voice of shaggy from Scooby Doo. Now Robin Williams. Seems someone is systematically killing off my childhood. Anyway, Even though I left Comedy Central over a year ago, they won’t leave me alone. They asked me to write something about the most recent performer to cross over beyond the veil, so I scribbled this while on a train. Forgive the odd grammatical inconsistencies, but I only had twenty minutes…

    ROBIN WILLIAMS RIP

    By admin Uncategorized
  • 07 Sep

    Death, Change and Flux

    Weird couple of weeks. Having taken a month off work, I have spent more time than usual reflecting on everything about my life. Not to say I was wallowing, more that I have been extra mindful of my current direction and, more specifically, the choices I make or don’t make to steady the train, clear the tracks and ensure safe passage through life in all its florid glory. So, perhaps it is sadly rather apposite that during this period of introspection an old school friend suddenly passed away.

    The greatest trick death pulls is making you believe it happens to you; it is of course something that happens to everyone else. Finding solace in heaven, reincarnation, or a final, everlasting sleep does not change the fact that as far as this mortal realm is concerned, once you’re gone you’re gone. It is those left behind who have to process tragedy, deal with the myriad of conflicting, painful emotions and pick up the pieces. It is everyone else who has to make sense of what it means to just stop living.

    Of course, those of a religious persuasion find comfort in the notion that when we die we go somewhere else, but as religions dwindle, our society finds concepts of an afterlife or the soul increasingly amorphous and vague. Everything seemed clearer in the past. However primitive, there was a system in place and, more significantly, a destination. The ancient Egyptians believed when you died you had to endure a rigorous series of trials to determine what happens to your soul in the afterlife. You needed to have memorised elaborate texts, incantations and spells from the Book of the Dead – the ultimate theory driving test. Your heart was then weighed against a ‘feather of truth’ which means, as anyone with even the most basic understanding of physics will tell you, the odds are already stacked against you. Still, when you’re being judged by a colossal being with the head of a jackal, all rational bets are off. This notion of your fate in the hereafter being determined by how you behaved in life has endured in many faiths because it IS comforting. It suggests a purer form of justice beyond our mortal reach, that life is balance, that life is fair. Which, of course, it isn’t.

    Today we have no death culture and we need one. Not necessarily the need for religious conviction that when we die we go to a better place, more that as a culture we need to collectively embrace death precisely BECAUSE is unites and sustains us. In the past disease and war brought us together in mourning. Sharing a traumatic experience gave us the strength and tools to face the unknown – a united front against a common enemy. During the Nineteenth Century, thousands in London perished due to the stifling grip of cholera. The carnage of World War One saw entire towns in the North of England lose every single man and boy. In the past life was cheap. Now it is reassuringly expensive. We have spent a fortune to ensure that many previously fatal diseases are now curable and controllable, while the nature of modern warfare and no conscription means organised conflict takes place among paid volunteers in some far flung desert. It is remote, it is distant. In this country at least, neither disease nor war has the same raging conflagration that incinerates whole communities, but by the same token we are no longer brought together on a regular basis to face the white-heat immediacy of death. Thanks to scientific and medical advances, we are living longer than ever before, but this means grief is less frequently felt and so we are less equipped to handle it. The idea that ‘it was just their time’ is fought tooth and nail. Not many of us are willing to meet death head on. It’s rarely our time because so few of us are ready.

    So what do we do? We hide behind language. From the comical list of euphemisms spouted with high-pitched venom by John Cleese when returning his dead parrot to the more sensitive phrases used in polite conversation to soothe, the reason we have so many alternative ways of conveying death is because for many it is too unfathomable to comprehend. We talk of people ‘passing on’ or ‘passing away’, a reminder that not only is life fleeting, but also that those who die are merely on the move, heading somewhere else. No need to get up, I’m just passing through. See you in a bit.

    My friend had a troublesome life. He found certain aspects difficult and due to many factors we’ll never truly know, it all came to a head last month. Though we were close in the past, it would be untrue to state we were best buds or that even though the news came as a shock, I was not surprised. I can say, however, that my heart goes out to his family. Death also has the power to relieve and release, but to see someone never realise all their dreams, ambitions and potential is a tragedy.

    And yet how do we know if we have fulfilled our potential? Potential to oneself? To others? The more you peel away the idea that we all are here for a reason, to strive towards an admirable goal, the more everything starts to unravel. Is it best just to accept that things ‘just happen’? That you just keep your head down and get on with it? No room for navel gazing here, best leave that to those furrow-browed, emotional European philosophers of days past. Whether you spend an unhealthy amount of time thinking about death or never give it a second thought, it’s going to happen whether you like it or not. Realistic? Yes. Comforting? Not really.

    Life is flux, and I believe embracing that flux is key to happiness. It was staring down the barrel of professional inertia that moved me to make recent changes in my own life. Were they the right choices? Time will tell. And that’s the point. We all move forward regardless and we can’t afford to be neutral on a moving train. Whether we press down hard to gain momentum, strain to apply the brakes or strive to redirect the route, all the decisions we make will affect the trip, regardless of the destination. Best make them count. My friend has reached the end of his journey. Wherever he is, I’m sure he’s enjoying his slumber. As for the rest of us, fingers crossed we’re headed in the right direction; I guess we’ll find out when we get there. RIP old friend, hope you enjoyed the ride.

    By admin General
  • 20 Aug

    The Great British Sod Off

    Hello world,

    First post in a while but that may well change. For starters I’ve unchained the shackles of Comedy Central after several years and am back out there in the real world. Glad I dived right in; the water’s just fine.

    Secondly, I felt compelled to write because tonight marks the return of the adored Great British Bake Off. Now in its fourth series, that chunky, handsome man with the twinkly eyes (no, not me) and the woman who looks the evil pastor in Poltergeist 2 are back to reassure the nation that everything isn’t really that bad and we are in control; nothing calms the soul more than watching a group of people whose greatest struggle involves an inaccurately folded loaf of cholla or an overly-tart lemon drizzle cake.

    I have nothing against this sort of warm cardigan telly in principal, but what I do find rather sad is that this is a prime example of an increasingly depressing trend of major broadcasters of replacing quality, thought-provoking, original and, above all, entertaining programming with what is lazy, drawn-out, quick-win and ultimately empty daytime television.

    I should say, first off, that having worked in TV for a long time, I understand the squeeze programme makers currently endure. The digital revolution has diluted the water, the money is dwindling and the need to spread themselves across multi-platform outlets has seen reduced risk-taking by broadcasters in terms of the formats they commission. I understand all this; I used to see it every day.

    But. Shows like this gall me because historically they would be tucked away alongside Watercolour Challenge and My First Doily in the middle of the afternoon – gentle, passive shows that brought together the pensioner and the student alike, soothing them into a soporific but beatific stupor until they go out/go to bed at about 6pm. The Great British Bake Off should not be on 8pm. At the risk of sounding like a Daily Mail article, it’s a waste of the licence fee.

    Since they have made the jump to primetime, we are left with effectively 20 minutes of television cynically drawn out over an hour to fill the schedule. You just watch. Next time one of these shows is on keep an eye out for the insufferable levels of repetition in the voice over, talking heads, interviews and participants’ comments over 60 minutes. If I catch one more episode of Masterchef where we are reminded every six minutes that Gavin from Weybridge is out of his comfort zone with a fish dish I’ll build a van out of those desserts Greg Wallace loves so much and crash it through his kitchen.

    I’m not saying all primetime TV should be highbrow and elitist. We do have enough channels to spread the love and there’s more than enough room for comedy, drama and documentaries that are broad and mainstream; I welcome it. I just feel (rather sentimentally I admit) that major network broadcasters should be leading from the front as they used to. Also, I just miss the craft that goes into programme making. They say a show comes together in the edit suite but these daytime-turned-primetime shows really do feel like every single shred of footage has been cobbled together just to play for time and chase ratings at the expense of well-made, stimulating entertainment.

    I understand why these shows are popular. I get why people in their millions lap this stuff up. It’s gentle, it’s soothing, a balm after a hard day doing whatever it is people don’t enjoy doing on a daily basis. It’s aspirational. People doing what they love in England’s Green and Pleasant Land.

    That said, television is still (for now) one of the most powerful media in the world, and there’s no reason why prime time schedules shouldn’t be used optimally to benefit the greatest number of people. We need less frothy, forgettable fare that belongs on TV during the middle of the day, and more truly engrossing dramas, uplifting comedies and inspiring documentaries the BBC and Channel 4 used to pioneer so effectively. Lastly, I also believe people will watch whatever’s put in front of them, so there’s really no excuse NOT to make it well written, well structured, well acted (where relevant) and above all actively entertaining.

    Now if you excuse me, I’m off to check my Victoria Sponge hasn’t fallen over…

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